{"id":1654,"date":"2020-08-19T19:02:18","date_gmt":"2020-08-19T17:02:18","guid":{"rendered":"https:\/\/chroniques-biennale.org\/?post_type=oeuvre&#038;p=1654"},"modified":"2022-02-18T10:43:32","modified_gmt":"2022-02-18T09:43:32","slug":"advienne","status":"publish","type":"oeuvre","link":"https:\/\/chroniques-biennale.org\/en\/oeuvre\/advienne\/","title":{"rendered":"Advienne"},"content":{"rendered":"\n<div class=\"wp-block-group oeuvreTopRow is-layout-flow wp-block-group-is-layout-flow\">\n<h1 class=\"noMarginBottom caps edge wp-block-heading\">advienne<\/h1>\n\n\n\n<h2 class=\"caps wp-block-heading\">CYRIL MERONI<\/h2>\n\n\n\n<div class=\"wp-block-columns singleOeuvreTopRow is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\">\n<h4 class=\"wp-block-heading\">Live audiovisual&nbsp;<\/h4>\n\n\n\n<p><strong>Production CHRONIQUES 2020<\/strong><\/p>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<p><strong><strong><strong>In how many different ways can we experience the same lapse of time? How does this vagueness affect our way of perceiving our environment?<\/strong><\/strong><\/strong><\/p>\n\n\n\n<p><em>Advienne<\/em> puts into perspective different temporalities within a spatialized audiovisual system, encompassing the viewer. Playing with our perception of time, this generative performance constantly forces us to readjust our perspectives. From concrete to abstract, landscapes in constant metamorphosis lead us into moving environments.<\/p>\n\n\n\n<p>The project is the result of meetings and discussions with Alejandro Perez, physicist at the Center for Fundamental Physics in Luminy. His research attempts to unify so-called classical physics, which explains most macroscopic phenomena, with the latest theories of quantum mechanics which study the infinitely small, that is to say, the invisible matter that surrounds us and therefore time in its smallest fractions.&nbsp;<\/p>\n\n\n\n<p>Freely drawing inspiration from these theoretical works, <em>Advienne<\/em> provides a place where it is our way of observing the world that creates time. Thus the increasing, sometimes exponential, speed at which we feel the passage of time could perhaps decrease, or even be reversed, during a performance and create confusion; an almost meditative moment in order to rethink our relationship with the world.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreInfosRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column infosPratiquesBlock is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:25%\"><\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:75%\">\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1848\" height=\"2560\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-2-Advienne-Cyril-Meroni-2-scaled.jpeg\" alt=\"\" class=\"wp-image-1456\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-2-Advienne-Cyril-Meroni-2-scaled.jpeg 1848w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-2-Advienne-Cyril-Meroni-2-217x300.jpeg 217w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-2-Advienne-Cyril-Meroni-2-739x1024.jpeg 739w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-2-Advienne-Cyril-Meroni-2-768x1064.jpeg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-2-Advienne-Cyril-Meroni-2-1109x1536.jpeg 1109w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-2-Advienne-Cyril-Meroni-2-1478x2048.jpeg 1478w\" sizes=\"auto, (max-width: 1848px) 100vw, 1848px\" \/><figcaption><br>\u00a9 na\u00efri<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1848\" height=\"2560\" src=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-Advienne-Cyril-Meroni-1-scaled.jpeg\" alt=\"\" class=\"wp-image-1454\" srcset=\"https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-Advienne-Cyril-Meroni-1-scaled.jpeg 1848w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-Advienne-Cyril-Meroni-1-217x300.jpeg 217w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-Advienne-Cyril-Meroni-1-739x1024.jpeg 739w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-Advienne-Cyril-Meroni-1-768x1064.jpeg 768w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-Advienne-Cyril-Meroni-1-1109x1536.jpeg 1109w, https:\/\/chroniques-biennale.org\/wp-content\/uploads\/2020\/08\/VISUEL-OK-Advienne-Cyril-Meroni-1-1478x2048.jpeg 1478w\" sizes=\"auto, (max-width: 1848px) 100vw, 1848px\" \/><figcaption><br>\u00a9 na\u00efri<\/figcaption><\/figure>\n\n\n\n<p class=\"noMarginBottom\">Share this event on social networks<\/p>\n\n\n<div class=\"socialLinks socialShare\"><ul><li><script>function fbs_click() {u=location.href;t=document.title;window.open('http:\/\/www.facebook.com\/sharer.php?u=https:\/\/chroniques-biennale.org\/en\/advienne\/&t='+encodeURIComponent(t),'sharer','toolbar=0,status=0,width=626,height=436'); return false; }<\/script><a rel=\"nofollow\" href=\"http:\/\/www.facebook.com\/share.php?u=<;url>\" onclick=\"return fbs_click()\" target=\"_blank\" class=\"facebookLink\"><i class=\"fab fa-facebook-f\"><\/i><\/a><\/li><li><a href=\"https:\/\/www.linkedin.com\/shareArticle?mini=true&url=https:\/\/chroniques-biennale.org\/en\/advienne\/\" target=\"_blank\" ><i class=\"fab fa-linkedin-in\"><\/i><\/a><\/li><li><a href=\"https:\/\/twitter.com\/intent\/tweet?text=Advienne&amp;url=https:\/\/chroniques-biennale.org\/en\/advienne\/\" target=\"_blank\" class=\"twitterLink\"><i class=\"fab fa-twitter\"><\/i><\/a><\/li><\/ul><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreArtistsRow is-layout-flow wp-block-group-is-layout-flow\">\n<h4 class=\"wp-block-heading\">Artist<\/h4>\n\n\n<div class=\"artisteBlock  \"><div class=\"artisteBlockLeft\"><\/div><div class=\"artisteBlockRight\"><h2>Cyril Meroni <sup>(FRA)<\/sup><\/h2><div class=\"artistContactLine\"><ul class=\"artisteSocials\"><li><a href=\"https:\/\/www.instagram.com\/cyril_meroni\/\" target=\"_blank\" class=\"iconLink\"><i class=\"fab fa-instagram\"><\/i><\/a><\/li><\/ul><\/div><div class=\"artisteContent\"><p class=\"p1\">Coming from the music scene and trained as a special effects editor alongside the director Bruno Ulmer, then as a cameraman during many collective relational aesthetics projects, in his personal work Cyril Meroni experiments with the spatialization of sound and images.<\/p>\n<p class=\"p1\">Ranging from live audiovisuals to the scenography of shows and festivals, including numerous mappings and the production of two films, his creations allow him to explore different types of audiovisual narration. His artistic approach leads him to question the relationship between the precision of technology and the inherent imperfection of human action.<\/p>\n<p class=\"p1\">He has worked alongside Rioji Ikeda, Blanca Li, Anti VJ, Hubert Colas, and for the Exit, Fid, Le Festival d&#8217;Avignon, Le Bon Air\u2026 Co-artistic and technical director of the association Hexalab, he is also an independent trainer in post-production and video broadcasting software.<\/p>\n<\/div><\/div><\/div>\n<\/div>\n\n\n\n<div class=\"wp-block-group oeuvreCreditsRow is-layout-flow wp-block-group-is-layout-flow\">\n<div class=\"wp-block-columns is-layout-flex wp-container-core-columns-is-layout-28f84493 wp-block-columns-is-layout-flex\">\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:40%\">\n<h4 class=\"wp-block-heading\">Credits &amp; mentions<\/h4>\n<\/div>\n\n\n\n<div class=\"wp-block-column is-layout-flow wp-block-column-is-layout-flow\" style=\"flex-basis:60%\">\n<p>Creation supported by CNC, produced in co-production with gmem-CNCM-Marseille, Le Hublot, 6MIC, Hexalab, Montevideo, the Vasarely Foundation, the LEV festival, AMI and the CHRONIQUES platform, supported by the Regional Council of the South Region, the city \u200b\u200bof Marseille and the French Institute in Paris, coordinated by SECONDE NATURE and ZINC.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n<p><\/p>\n","protected":false},"featured_media":1811,"menu_order":0,"template":"","edition":[20],"type_oeuvre":[27],"class_list":["post-1654","oeuvre","type-oeuvre","status-publish","has-post-thumbnail","hentry","entry"],"_links":{"self":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre\/1654","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/oeuvre"}],"about":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/types\/oeuvre"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media\/1811"}],"wp:attachment":[{"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/media?parent=1654"}],"wp:term":[{"taxonomy":"edition","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/edition?post=1654"},{"taxonomy":"type_oeuvre","embeddable":true,"href":"https:\/\/chroniques-biennale.org\/en\/wp-json\/wp\/v2\/type_oeuvre?post=1654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}